b. a r c h p o r t f o l i o / s e l e c t e d w o r k s aiman mukhtiar
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First Year Work
Second Fourth Year Work
Fifth Year Work
Exchange Work
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CONTENTS
Year Work
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First Year Work A Rock by the Sea, Harihareshwar
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Second Year Work The Agiary Wall Annexe to a Trust, Parsi Agiary, Marine Lines, Mumbai
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Interior Design of the Annexe ID Studio Work
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Third Year Work The Pier Alternate Healing Centre, Vajreshwari, Mumbai
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Architecture of the Flux Indian Diaspora Community Centre, Pahurad, Bangkok
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Fourth Year Work On the Way Home Redevelopment of Amardham Slums, Nashik
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Deconstructing a Theatre Extension to the Tribal Arts Museum, Bhopal
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Semester Exchange Program Reshaping the Eatscape in Taichung Experimental Design Studio, Tunghai Universtiy, Taiwan
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Fifth Year Construction Techincal Drawings
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4 Third Year Work
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EDUCATION AND TRAINING:
Kamla Raheja Vidyanidhi Institute for Architecture and Environmental Studies, Juhu, Mumbai Batch of 2016 Erasmus Mundus Exchange Scholarship 2015 University College of London | Urban Lab Plus (Candidate for participation in cluster meetings, conference, workshops and the final symposium on Intercultural Learning and Practise Orientation)
CURRICULUM VITAE AIMAN MUKHTIAR
30th August, 1993 1/1304 Challengers, Thakur Village, Kandivali (E), Mumbai- 400101 Contact: +91 9920800108 022 28862921 E-mail: aimanbmukhtiar@gmail.com Seeking position: Intern
Tunghai University, Taichung, Taiwan A Semester exchange program, Experimental and Urban Design studio October-January 2014 Thakur Public School, Mumbai University Upto 12th Std Batch of 2009
WORKSHOPS:
Monsoon Workshop 2011 -First Year Introductory Workshop by Kausik Mukopadhyay and Sonal Sundararajan Winter Workshop 2011 -Production and Set design by Kausik Mukopadhyay and Sonal Sundararajan Winter Workshop 2012 -Studying Ranwar, Bandra by Madhav Raman and Vaibhav Dimri of Anagram Architects Winter workshop 2012 -Film theory by Devdutt Trivedi Timber Construction Workshop 2012 -Building 1:5 scale Timber model of a monastery of Sikkim, by Vikram Pawar Winter Workshop 2013 -Generational Architecture by Andrea Bertassi and Christina Cassandra Earthquake Resistant and Seismic Construction 2014 -By Najib Shariff, Vikram Pawar, Sandhya Shuklabaidya and Jamshid Bhiwandiwala First year Introductory Workshop 2015 -Teaching Assistant for PETS Workshop held by Kausik Mukopadhyay and Sonal Sundararajan
SKILL SETS:
Digital: Autodesk- AutoCad Adobe Photoshop Adobe Indesign Google Sketchup Microsoft Hand: Model making Hand drafting and rendering Sketching Photography
INTERESTS:
Writing, Painting, Films, Travelling, Reading, Poetry, Trekking and Photography
LANGUAGES:
English, Hindi and Gujarati
ACHIEVEMENTS AND EXTRA CURRICULAR: 2015 Awarded for Overall Performace in the Academic Year 2014- 2015 2015 Teaching Assistant for the First Year Introductory workshop PETS 2015 Moderated the Children’s Film section of the MAMI Film Festival 2015 Canditate for Erasmus Mundus Exchange Scholarship held at Uiversity College of London under the Urban Lab Plus program 2015 Exhbited works: Low-cost housing, Amardham, Nashik, 4th Year Project 2014 Candidate for the Semester Exchange program with Tunghai University, Taichung, Taiwan. Participated in the Master’s studio under Professor Simon Shu and Professor Lo on reshaping the eating landscape of the city (individual project) 2014 Exhibited work for P.A.A.U (Platform for Asian Architecture and Urbanism held between KRVIA, Tunghai University, Taiwan and Tonji University, Shanghai): Community Diaspora, Bangkok, Thailand, 3rd Year Project and Alternate Healing Centre in Vajreshwari, 3rd Year Project 2014 Part of Publishing an Urban Design and Research book ‘Reviving Amardham through Women’s collectives’ 2013 Exhibited Works: Annexe to a Trust, Parsi Agiary, Marine Lines, Mumbai 2012 Part of Quality Control Team for Organising the Bayul Demazong, Sikkim Exhibtion in KRVIA
vantage points
within the landscape
shade under the sun
moving with the waves
A Rock by the Sea
Centre for Recreation, Arts and Exhibition First Year | Harihareshwar, Maharashtra A tiny village, just like any other village, nothing in particular defined the village. After every step you would find a soda stall. As they dipped the end of the spoon (covered in rock salt) in your glass to serve you, a mountain of effervescence would emerge from it. Rising exactly like the hills of the landscape and as frothy as the edges of the waves. The effervescense, much like being overwhelmed by the beautiful village and lanscape, dies out in a few seconds. Just like the illusion of the village that breaks on you when you notice the village closely. A structure stood on the beach that described the illusion that the beauty of the village creates, somewhere in the middle of both sand and water. With the sunlight pouring in you could breath in the vastness of the ocean. It created such vantage points for observations that you could look beyond the village. I felt the waves under me. The floor moved and I swayed with the waves. The floor, the shallow water and the sand bed created a rhythm with each wave. The structure blended with the sea and the hills. A series of plinths and volumes like the rocks ,which allow water to enter and form shallow pools and other water bodies. It was as if it was made of effervescence, a permanent effervescence. 1
sea allowed to enter
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The Agiary Wall
Annexe to the Trust Second Year | Mumbai, Maharashtra A Parsee Agiary in Marine lines, Mumbai is a place of worship for the Parsees. The Agiary complex consists of the community Fire Temple and housing for the people of the community. A boundary wall seperates this quiet, green complex from the hassle of the city. The boundary wall holds a higher value for the people living inside. It gives them a sense of protection, and defines their space of worship and community life.The intervention within this complex attempted to maintain the balance within this community life. It explores the potential of the boundary wall to change it’s form to accomodate various programs that will benefit the community, and develop a public interface at the edges of the complex.
the boundary wall accomodates workshop spaces, a small gallery, a library and an archive
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the intervention places itself along the edges of the complex, maintaining the open spaces within
the boundary wall dips at certain points to form spaces for a quiet archive still taking light from above
the boundary wall steps back and celecrates the entry into the intervention with an informal gallery along the stairs
important gestures of the boundary wall the boundary wall encloses within it a garden as a space for repose and accesible to public, without giving access to the rest of the complex
GROUND FLOOR PLAN
the boundary wall disappears and leaves out a space as an extension of the street realm. A space set up with benches and newspaper stands
the spaces which are adjacent to the Fire Temple are dipped below ground level so as to not disturb the activites of the Fire Temple
the boundary wall has punctures and add to the elevation and give partial views to the inside
FIRST FLOOR PLAN
SECTION
ELEVATION
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The Agiary Wall, (Interior deisgn) Second Year | Mumbai, Maharashtra
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The Workshop and Gallery Workshop furniture units are color coded to differentiate some movable trolleys to facilitate workshop use. The light well defines circulation patterns within the gallery and workshop.
The Archive
The boundary wall dips down to form the private archive and becomes the key holder for the archive documents
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The Library The partitions are used to form heirarchy in spaces. Space under the staircase is designed to form shelves.
The library has spaces for different types of users. The desks have shelf units attached and increase the efficiency of space use in the long library volume. The sun cutters accomodate the major amount of books and cut light but give partial view to the outside through the glazing.
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The Pier
Alternate Healing Centre Third Year | Vajreshwari, Maharashtra The site is along a river bed. There are 3 elements that are to be dealt with; the land, the people and the water. The topography connect the people to the water. A sense of journey develops. The intervention must embrace the importance of treatment of land to enhance the experience of the journey. This treatment must be reflective of the water itself. The plinth is carved out and not one solid mass, which allows the river to breathe (through narrow canals) and the wet pebbles of the river bed to be a part of the intervention. Informal spaces frame views to the water. The connectors between bigger volumes become the porosity of the building, and allow the entrance of light and larger vistas. The water not only holds the project together, but also keeps intact the interest of the visitor. Being within the building must reflect the feeling of being in water. The form develops as several linear pathways leading to the river, with thick walls perpendicular to the river edge guiding you. The grid of this form opens itself out to respond to the edge. They help in creating vistas and elements of architecture that are reflective of the existing ghats and the pier on site. 9
form development, volumetric explorations
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GROUND FLOOR PLAN
SECTION BB’
FIRST FLOOR PLAN
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SECTION AA’
SECTION CC’
SECTION DD’
SECTION EE’ 12
massing models 13
understanding roofs
for experience of water
views within 1 library, 2 public courtyard, 3 small semi-private courtyard
Wall Section
The contrast is seen between the thick stone clad concrete walls leading to the river and the glazing and steel sections facing the river
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Architecture of the Flux
Indian Diaspora Community Centre Third Year | Pahurad, Bangkok
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GROUND FLOOR PLAN
FRONT ELEVATION
The site is an old fabric of a part of the city with majority Indian population. The buildings on site are not allowed to be torn down or renovated. Changes through time have been worked out around these permanent structures. The site is ephemeral, hybrid. Maintaining the old traditional buildings with the current social structure, accomodating them to suit changing needs has created the experience of fleeting moments. The building seeks to retain the experience of fleeting time and changing space in the combination of old and new systems. Voids and spill-out spaces in the building creatre a flux at every level of the building. Moving through the building is moving between the permanent and the ever-changing.
BACK ELEVATION
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basement
2nd floor
5th floor
6th floor
7th floor
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flux through diagrams
flux through volumes
views 1 clinics, 2 plaza facing street, 3 schematic plans showing immigration offices, 4 plaza facing canal flux at every level
Exploded Axonometric
2 plazas are formed at ground between a Z-shaped mass, 1 for the street and 1 for the canal to receive boats. Similarly, flux at every level for constant juxtaposition of the permanent structure and the temporary spaces of interpretation.
SECTION CC’
SECTION AA’
SECTION BB’
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On the Way Home
Redevelopment of Amardham Slums Fourth Year | Nashik, Maharashtra Existing patterns of movement, pause points and open spaces have the potential to create a system for housing. Streets release into open spaces which then taper and disappear into alleyways, giving every movement through Amardham a temporal nature. “Daily chores consume us. There is no time to stop by the market or the fair, or to view the river or to get down to the ghat.� Temples, trees,green belts, open spaces, amenities, and different housing typologies activate street nodes, making movement more active on site. This makes it possible for a person to meet people and/or play and/or visit their plantation and/or shop and/or recycle and/or have chai on the way home.
Master Plan
A green belt for small scale farming, recreation. A yellow commercial network for alternative means of income, workshops, recycling, etc.
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ideas for future amenities and their materials to develop a socio-economic network
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Cluster typology 1
number of housing units: 25
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Cluster typology 2
number of housing + shop units: 12
p r o c 23
Cluster typology 3
number of housing + workshop units: 6
e s s 24
Deconstructing a Theatre Extension of the Tribal Art Musuem Fourth Year | Bhopal, Madhya Pradesh
diagram of a theatre
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B’
C
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with stage at centre and ancillary functions around
A space that would encourage engagement from the tribals, the locals and the tourists beyond the mere exchange of services. By extending the role of museums to creating production spaces for theatre, the museum becomes a live space with theatre production as the exhibits which are being created and displayed. The government funding the State Museum of Art, the Tribal Art Museum and the Museum of Man, would fund this new program that would enable the tribal talent to enhance the existing theatre school with their traditional performance and visual art skills, bringing them into an active involvement with local theatre groups and students. For the tourists, the museum would become more than a passive viewing of the arts, and more a live show, as they watch the sets being created with the final results. Even for the locals, the space becomes one that encourages curiosity beyond mere passing by. The path itself encourages them to get engaged with the activities taking place in the space around them, and perhaps inculcate an interest that may have not existed before.
tilt fit
ting the axis to t site conditions
new axis fragments to form new corridors
movement of a passerby on foot, cycle etc
widening axis where function requires it
addind a 2nd axis, attaching open spaces to the 1st
movement of a tourist the visitor of the museum
placing two imp programs at ends of axis to invite visitors
diagramming ancillary functions
movement of a worker the tribal/local using the workshop, etc
SECTION EE’ 26
SECTION AA’
SECTION BB’
SECTION CC’
SECTION DD’ 27
Showing the different entries for a variety of users into the project sitting on the contoured site 28
Reshaping the eatscape in the downtown centre
Adaptive reuse of the Second Market Semester exchange | Taichung, Taiwan Building a narrative on site which allows you to imagine metaphors describing the nature of the site and using them further to translate into strong architectural gestures. 29
stills from visual narrative and the story imagined using the metaphors found on site 30
The Second Market has a Centric plan. It’s three wings are arranged around a core of columns that support the roof structure. Inspite of it’s definite plan, the second market has a chaos of it’s own kind. Dogs, babies, meat, vegetables, flowers, restaurants, boutiques, bikes, cars, parking, people, strollers, an old Japanese dining place and a Temple. Very different from the boutique/store type shopping available on the main roads outside, the second market’s alleyways still manage to resemble the roads outside by their multi-purpose function. The alleyways provide circulation by pedestrian and vehicular movement. They are their mini-replicas but more humble in scale and versatile. The alleyway widens and tapers as per the type of shops it faces. It accomodates seating for the food stalls, extensions to the displays of small boutiques and sometimes it just opens out to receive light.
The surrounding neighbourhoods depend on the second market on a daily basis. The market functions from 7:00am-11:00am. This market does not receive many visitors after the morning even though some parts of the market are open throughout the day. The closed shutters of the meat/ vegetables/ fruits/ food stalls make the market seem abandoned and uninhabitable. The changing phenomenon within the market has a potential for possible intervention. A new set of programs can be introduced to replace the programs which do not continue into the evening. 31
existing programs on the site around the second market: out of 30 shops every,
diagrammatic representation for movement inside the second market Experientially, the market can be defined with 1. an undefined central core 2. smaller linear movements 3. a few primary axis for circulation It is necessary to retain these identities such that the architecture is true to it’s site and the intervention remains versatile like the second market.
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b. a r c h p o r t f o l i o / s e l e c t e d w o r k s aiman mukhtiar